Irony is the word which comes to mind at the mention of the “Global Conference for Media Freedom” co-hosted by the UK and Canadian foreign ministers. Everything about this twilight zone gathering smacked of irony.

Irony that governments which support terrorists in Syria and whitewash Israeli murders of Palestinian journalists have the gall to hold a conference feigning concern for journalists’ rights and media freedom.

Irony that journalists actually suffering persecution and unjust imprisonment –like Kirill Vyshinsky and Julian Assange – were not the focus of the conference, with Assange only mentioned in passing, and Vyshinsky, presumably, not at all.

Irony most of all that a conference — according to Global Affairs Canada, an “international campaign to shine a global spotlight on media freedom…”– refused participation of two major and sought-out media outlets, both Russian: RT and Sputnik.

Organizers apparently tried to claim the reason for the exclusion was simply that they’d met their quota of journalists attending. But they didn’t maintain the lie to Western media, RT London correspondent Polly Boiko noted:

“Behind our backs other news channels got a very different message: ‘We have not accredited RT or Sputnik because of their active role in spreading disinformation.’”

Former Guardian Chief Foreign Correspondent Jonathan Steele called the exclusion of RT and Sputnik a “disgrace”, also stating:

“I think they’re trying to isolate RT and imply that it’s not a genuine broadcaster in the hope that British people and others around the world who watched RT International won’t continue to watch it.”

The irony –yet again– is that Russia isn’t doing the same, isn’t isolating Western media.

“It’s like the world has turned on its head. Moscow is literally paying people to translate Western media into Russian (see @RT_InoTV). But the UK is in a panic about Russian outlets, even running covert operations, such as “Integrity Initiative,” to “combat” a perceived threat.”

Even the Committee to Protect Journalists expressed concern at the UK’s exclusion of RT and Sputnik.

From the feedback on the UK Foreign Office tweet featuring CNN’s Christiane Amanpour about

“The government did not provide any reasoning for the denial of Lima Group meeting access, but has recently been called out for limiting press freedom within the country based on the preferences of its government.”

Sound familiar?

A regime change conference

The UK conference seems to have been a who’s who of terrorist and extremist supporters and journalists who whitewash their crimes. Or, as a Canadian journalist who attended put it, the conference was:

“only two pre-selected Canadian journalists were permitted to ask questions of Freeland and Hunt at a brief media availability on the first day of the conference. Media were not allowed in the room for what may have been the most consequential part of the conference, a session with government representatives from around the world on “how to sustain the impact of the (Defend Media Freedom) campaign after the conference.”

Present were the BBC, CNN, and CBC, among others. Although these outlets have all systematically churned out disinformation on Syria and Russia, they were presented as truthful authorities on ‘media freedom.’

The BBC dubs itself “the most trusted international news broadcaster.” This lofty claim is easily debunked when looking at the BBC’s history of war propaganda on Syria, including its 2013, “Saving Syria’s Children”, a report which Robert Stuart has doggedly investigated, revealing its falsehoods.

Or the time the BBC used Italian photojournalist Marco Di Lauro‘s photo from Iraq to claim it was Houla, Syria.

As I wrote before, “Upon demand of the aghast journalist, the claim was later retracted and corrected, an “accident”…but who was listening by that point?”

Or that time the BBC’s Middle East specialist asserted a viral video was in a “regime” area of Syria –because of the “Syrian army flag” painted on a barrel– when the clip was filmed in Malta by Norwegians, and the barrel was painted with an out-of-sequence attempt at replicating Syria’s flag.

But more telling about the BBC’s trustworthiness is the fact that, according to the Canary, “The UK Conservative government appoints the chair of the BBC board and its four national directors.”

Pegged as a Venezuelan investigative reporter, Luz Mely Reyes was invited to the conference. Reyes advocates for non-president Juan Guaido and is cheer-led by Western media gatekeepers like TIME and the Guardian. She was thus, indeed, a perfect guest for the regime-change conference.

-Karam Nachar, a “cyber-activist working with Syrian protesters via social media platforms,” according to his bio on Democracy Now, where, as with other regime-change supporters, he has appeared frequently arguing the case for western intervention.

-Wa’ad Al Khatib, promoted before Aleppo’s liberation in 2016 as an independent filmmaker. Her clips were featured by none other than the UK’s Channel 4, one of the worst offenders in war propaganda on Syria.

The irony is that Wa’ad al-Khatib was slated to speak about the role of local journalists with respect to international media coverage of areas. But she,like so many other darlings of Western corporate media, reported fully embedded in terrorist areas, clearly with the permission and approval of terrorists.

Chairing panels on safety and protection of journalists was none other than Sky News’ Alex Crawford. In June, Crawford was seen embedded with al-Qaeda in Idlib, as were CBS journalists, both teams presumably having entered Syria illegally.

One could muse that Crawford’s safety advice was: pay up to al-Qaeda and you’ll be fine moving alongside terrorists.

Likewise, certainly absent was mention of Syrian journalist Khaled al-Khatib, killed in 2017 by ISIS (IS/Islamic State, formerly ISIL), or of any of theSyrian and allied journalists murdered by jihadists before he was.

The UK Foreign Office made the mistake of tweeting about the risk of “torture, disappearances and death,” in Eastern Ukraine.

Ha-ha-ha! Where you’ve been when I (war reporter, working as stringer for Ukrainian 112 chanel) was kidnapped by Ukrainian armed forces in 2014? Hypocrites! Stop spreading lies! What’s about #Vyshynsky or #Muravitsky, for example?

It would be revealing reaction of new president @ZelenskyyUa to such undemocratic and illiberal actions of political appointees of Poroshenko regime and far right against US documentary that they have not seen and against freedom of the press & expression in #Ukraine.

Здание телеканала 112 Украина обстреляли из гранатомета

“Any reaction from so-called ‘Global Media Freedom’ conference co-hosts Freeland & Hunt, or those who pledged to ‘shine a light on violations & abuses of media freedom, bringing them to the attention of global public and working towards accountability’”.

My question was of course rhetorical, not honestly expecting those governmental representatives who signed a pledge “to work together to protect media freedom” to actually do that.

Their pledge entailed committing to “shine a light on violations and abuses of media freedom, bringing them to the attention of the global public and working towards accountability.” How ironic.

In visual marketing, a picture is worth 60,000 words; that’s why a text cannot compete with images, especially in times of war.

Science proved that the human brain is able to process images 60,000 times faster than a text. This makes clear that it takes a picture less time to reach a wider spectrum of audience than a text does.

Mr. Aziz Taher, a professional journalist photographer who heads the Press Photographers Syndicate in Lebanon, covered the brutal ‘Israeli’ war on Lebanon that happened to take place the summer of 2006. The war, that lasted some 33 days, from July 12th until August 14th, was the toughest in the Middle Eastern modern history.

In an exclusive interview with Al-Ahed news website, Mr. Taher introduces the importance of photos by recalling his own experience as a southerner from the Lebanese village of Houla.

“For those who don’t know, in 1948, the ‘Israeli’ enemy committed a horrible criminal massacre in Houla. Because the massacre was not documented with photos, people forgot about it, although it claimed the lives of more than 70 martyrs. The massacre was absented from the society’s public memory. Here lies the importance of the photo.”

As the young villagers started talking about the massacre, people got to learn its story, the man narrates, “but it wasn’t deep-rooted like any other ‘Israeli’ massacre that was photographed such as the Deir Qassem, Sabra and Shatila, al-Mansouri and Qana massacres…”

Hereby, Mr. Taher moves to shed light on the importance of photos during the July 2006 war: “The ‘Israelis’ used to kill us then tell the entire world that they are in danger. Today, however, the equation has changed thanks to the picture.”

Photography as a profession

Mr. Aziz Taher, the professional photographer who works with several international news agencies, including Reuters, spoke on behalf of other Lebanese photojournalists, classifying their affiliations into patriotic and professional.

“Regarding our professional affiliation, we didn’t need anything to add to our photos; the facts on the ground were far worse than intervening in any picture. Massacres committed by the ‘Israeli’ enemy against our people, land, electricity, water, sea, and all what belongs to our life as Lebanese people, were bigger than being captured in a photo,” the man stresses, showing that every single photo was enough to expose the enemy’s brutality.

“On the patriotic level, the Lebanese photographers started observing and pursuing every massacre the ‘Israeli’ enemy committed against our people. This was a reason our photos reached international media outlets, having a strong influence that explained to the international public opinion this war, how it started and what is being committed [during it].”

He further elaborates, “During our coverage, six of my colleagues, and I, faced an intensive campaign by some sides that called us a ‘Hezbollah propaganda’, they started attacking us on the internet claiming that all of our photos are fabricated and fake.”

“They called me the ‘king of toys’, claiming that I prepare my cameras, my lenses and equipment, and I prepare toys, then I reach the “Hezbollah” attacked site and throw the toys there and capture the scene claiming it is a residential area.”

In conclusion, this showed how much harmful the photos were for them “as they tend to claim that we were making up those scenes, adding some toys and children in our photos, to say that ‘Israel’ is building residential areas. But the truth is that we didn’t need anything [when capturing the scenes] because all the places we took photos of are residential. There might be a Hezbollah center in each place, but the entire neighborhoods were residential. All neighborhoods embraced a history, heritage and memories, and it is the same for all the destroyed apartments.”

The man recalls the scenes of photos of the Dahiyeh [Beirut’s southern suburb] describing that they appeared as if an earthquake hit the place. “The case is similar for Bint Jbeil and all other villages where we have passed. The ‘Israeli’ enemy had rancorously bombed Lebanon, sometimes just ‘to have fun’, or just to destroy the place.”

Unforgettable incidents, scenes from the war

According to the veteran photographer, “Photos of the children were the most touching during the war. Scenes of the massacres committed by the ‘Israeli’ enemy were so much moving, lenses got tired of capturing photos of the victims… our eyes were exhausted because of the level of criminality and the daily killing by the ‘Israeli’ enemy against our people.”

Mr. Taher further stresses: “We were touched by every scene. We were all moved by what happened. But the moment I was moved the most was when colleague Layal Najib was martyred after the ‘Israeli’ warplanes bombed her car despite showing the ‘Press’ signal. She was targeted just like any other Lebanese national.”

Layal Najib, the martyr of photography who was killed in South Lebanon, is a symbol of all other martyrs who dies during this war, the man points out. “She is not different from them, but she is a photojournalist, and they [pretend] to talk about human rights and freedoms, Layal exposed the example of this enemy that doesn’t differentiate between civilians and journalists and that considers the whole place as a scorched-land.”

We were moved by many scenes of the martyrs, and the destruction… imagine that when you enter the Dahiyeh, you find all the places and buildings you know became rubble, completely damaged, he says.

“Every scene from the July war, just like all other wars, stops you at every detail, the lack of water, the lack of fuel, and the entire sufferings people have faced during the war…”

Speaking on behalf of the Lebanese photojournalists, Mr. Taher says: “We’ve taken pictures of all the ‘Israeli’ aggressions against Lebanon until the historic liberation day in 2000. Each one of us was touched by a picture he/she took at some place, but all of us were moved by the daily photographs we took which were related to the ‘Israeli’ enemy.”

Absented photos

Asked whether the photographers tended to hide certain scenes during the war, Mr. Aziz Taher explains that: “Most of the photos I took during the war were in the southern suburb. Then we started moving to the areas we could reach, to several regions in the south until we reached Bint Jbeil… During the war, we have witnessed many scenes especially those of the resistance fighters, but we absented them due to a patriotic sense…”

He justifies that by saying that “there was no interest to show from where the rocket was launched, we’ve seen that but we intended to absent those scenes. It was the same case regarding the photos of the resistance men we’ve seen when arriving at a certain village; we tried not to take any photo of their faces although we, as photographers, are curious to take photos of a rocket launcher or anything related to the resistance. However, we decided to hide them.”

“In this battle, you are not looking for a scoop, as you see all this suffering, you should show solidarity, at least by the photos you take, with the resistance men who are roaming between valleys, fields and villages to fight this enemy. Your duty is to hide their photos, not because they don’t deserve to be seen; they indeed deserve that their photos head all newspapers and media outlets, but being keen for their lives, and the continuation of the resistance work, we had this intention to hide their faces.”

Covering other wars

In the world of photography and media, wars represent a subject that attracts the pros. It is a passion. Many photographers, during major events, stop their jobs, while many others become more induced. There are two types of motivation, the professional and the patriotic one, the man notes.

“When taking photos in times of war, especially during the July 2006 war, you gain a lot of experience as much as you expose your life to danger. Your life will daily be endangered because while taking photos at any place, the warplanes suddenly start operating or carry out strikes. A road may be blocked, a bridge may be bombed… it is a very tough experience the photographers have faced the like of which the Lebanese people did.”

Pointing out to covering wars in other places, Mr. Taher elaborates: “I covered the Kuwait war… Photography used to include more details, it was more difficult and more adventurous before mobile phones. Today, with the availability of mobile phones, the entire society takes photos. I wish I could have taken part in the Yemen war, also in Iraq… and any other place in the world where wars take place, but I didn’t get the opportunity to do that. There are photographers everywhere, but on the personal level, I wished I could have covered the events in Syria, Iraq, Yemen, Bosnia and Herzegovina, as well as all other places of war in our region and abroad.”

According to the Chinese proverb, a picture is worth a thousand words, he states.

“I say that every photo that needs an explanation is an unsuccessful one. The photo should express itself, this is what I teach my students at the Lebanese University. The photo speaks up for itself. The press photo is the most dangerous, most entertaining and most real. Hadn’t it expressed its idea to the people, it is definitely unsuccessful.”

The man notes that a picture is worth a thousand words when it is used properly and reflected honestly. “A photo records the memory of the people. Our photos are not only taken to be published. Sometimes we take photos that we don’t publish. They are intended to document the people’s collective memory, as I previously mentioned the Houla Massacre that was not documented with photos, leading to its absence from the people’s memories. Today, however, the July war or any other incident became tangible to the public through photos.”

A man with such a rich experience and history makes anyone realize that you can look at a picture for one second but think of it an entire life. This is the case of the July 2006 war. With the photos he and his colleagues have taken, they have bought the new generations, especially those who weren’t present at the time, return tickets to many moments otherwise gone. They have also commemorated history and taken part in the heroic duty of defending the nation.

Beirut – The media has become the most powerful weapon in the modern era. It has become an integral part of the modern war machine due to its ability to create ideas, market ideologies and promote victories.

The media has become so important that it has crippled the ability of a large segment of the population to think objectively. The rapid flow of news, information and analysis, whether true or false, is being utilized. The threat posed by this weapon has been amplified with the rapid rise of social media.

This media system has a pivotal role in covering wars. In the July 2006 aggression, for example, it was an essential part of showcasing the victory of the resistance against the “Israeli” enemy. It also played a major role during the war in Syria. Social media showed advancements during the media’s coverage. The information war was highly fundamental during the Syrian war. Those watching some media channels such as Al-Jazeera and Al-Arabiya would think that Syria has fallen. But the truth on the ground was very different. There is no doubt that the two media experiences of the July 2006 war and the war in Syria starting from 2011 were different. This is what journalists who covered these two conflicts explained to us.

There is no doubt that the media experience differed when it came to the war with the “Israeli” enemy and the war with the Takfiri groups.

“The experience varies between the two arenas according to the region and the environment. In Syria, the movement was slow due to the lack of knowledge of the area. There was always more caution to it. You must be with a certain group, for instance certain combat groups, residents of that area or existing correspondents,” Al-Manar correspondent, Dia’ Abu Taam, points out.

He tells al-Ahed News “the situation in the South was different. The coverage was often made individually. There was only the reporter and the cameraman. There were days during the July war when I was alone in the Qaqa’iya al-Jisr area, where I did media coverage on my own.”

“Opening up to a new operational reality gives the reporter greater experience. By dealing with new challenges, it allows him to develop his professional performance significantly,” he adds.

Abu Taam talks about other factors including the development of the resistance’s capabilities.

“This coverage varies because the different capabilities have also evolved,” he insists.

“The extent to which the strength of the resistance in 2006 and 2012 differed was clear. We have seen some kind of fighting from the resistance that cannot be measured in any way to previous years. It was clear that the resistance has developed its performance greatly in terms of equipment, man power, skills, experience and strength,” Abu Taam said.

There is no doubt that social media was very important in the entire process. Abu Taam confirms this by underscoring “the significant difference between the kind of media used in 2006 and in 2012 and onwards.”

“In 2006, the new media was in its early stages. The internet was limited to emails. There was no social media. The price of the internet was very high. It was hard to send the materials, including the videos and audio because of their size. The only method used was through the satellite that was detected by spy drones. This posed many difficulties. There was scarcity in sending visual materials,” Al-Manar’s veteran reporter explains.

“In Syria, the issues differed greatly. The means of communication helped to send the material we wanted easily. It also helped broadcast entire reports from the site without any difficulties. We broadcast the moment of entering the sites live using the phone. This helped a lot in refuting rumors and lies the enemy spread,” Abu Taam said.

Another Al-Manar reporter, Mohammed Kazan, echoes his colleague’s assessment regarding the media coverage and the differences between the July 2006 war and the war in Syria.

“In the July war, we were bombarded by “Israeli” aircraft and artillery. In Syria, I was in Qusayr, Zabadani and al-Joroud [outskirts]. There was coordination between the operations command in the resistance and with the war media. There was someone who helped us move. But the danger lied in IEDs, sniper rifles and artillery shells,” Kazan tells Al-Ahed.

As for the importance of social networking sites, Kazan points out that for him “using them has been essential since the Mosul war in Iraq. We were in a desert area and in great need of the internet to compensate for the absence of satellites. The situation was the same during the Joroud war against Nusra [Front] and Daesh. The new media made up for the blocking of Al-Manar’s satellite frequency. Meanwhile during the July war, we always used transmitters, which exposed us to spy drones of the “Israeli” enemy.”

Al-Jadeed channel’s senior reporter Nancy Sabeh also spoke to al-Ahed about her experience.

“I was a correspondent inside and at the outskirts of the southern suburbs during the aggression. The means to send messages to the audience were very difficult in the past. There was no new media. There was also no interaction as it is today through social networking sites,” she said.

Sabeh stated that the most beautiful thing she witnessed during the July war was the return of local residents to Dahiyeh after the aggression.

“At 7 o’clock in the morning, I entered Dahiyeh as a reporter. There were a lot of people. They started to return to see their homes,” she recalled.

According to Sabeh, “today’s journalism depends more on social media than on traditional journalism. Unlike what we have seen in the past, during the July war work was more accurate. Our work was patriotic. We were not looking for fame as it is today through these sites.”

For her part, LBCI’s Hoda Chedid told al-Ahed that “during the July war, we saw through the coverage that most Western and Arab countries were waiting for “Israel” to triumph and for the resistance to be defeated. This provided material for the other side of the story to each reporter to show how the people of the South challenged the war, how they resisted and how they triumphed over the “Israeli” enemy.”

Chedid explained that “during the war against terrorist groups, the situation completely changed. There was a consensus on the need to confront the terrorist groups and to show it in the media. Social media was a very supportive and important factor in this coverage. The whole country was engaged in confronting Daesh’s terrorism. It was a very important experience that meant a lot to me. I proudly experienced it as a result of the importance of this coverage of the war, the victory and the liberation of al-Joroud.”

As in the battlefield, the fronts are always wide open in the media, between the righteous side on the one hand and falsehoods on the other. It is the responsibility of media professionals to show and champion righteousness and keep up with the victories.